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        Critical Theory: Lacan, Derrida and since</font><br>
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      <p><img src="../images/LookingAwry.jpg" width="46" height="60" align="right">Slavoj 
        Zizek's constant use of literary and filmic examples can be an invaluable 
        way into Lacan for the literary reader, and makes his work a ready source 
        of ideas for the literary critic. This is not just a matter of his dealing 
        with the unfamiliar via familiar things such as stories and films. It's 
        also due to the way in which narrative itself has such a crucial role 
        in what Freud called <i>secondary revision</i>, and Jacques-Alain Miller 
        calls <i>suture</i>. Narrative is a way of holding together or making 
        sense out of contradictions. If the unconscious is perfectly capable of 
        thinking both <i>X</i> and <i>not-X</i>, one way of eliminating the contradiction 
        is to give it a timeline and make a story out of it: <i>once we were X, 
        but now we are not-X; once we had that objet a, but now we don't...</i> 
        Narrative is structurally indispensible to fantasy, and this may have 
        a lot to do with why psychoanalysis has always been so interested in literature, 
        which begins by positing itself as fictive.</p>
      <p>Zizek's texts are always multiple (they bring in all sorts of things 
        in the course of an argument) and repetitive (in the sense that they often 
        rework each other). When you're looking for what Zziek has to say on a 
        particular topic, chances are he's said a number of things about it in 
        a number of places--the best way to find things is to get a pile of half 
        a dozen of his books, and trawl through the indices. </p>
      <p><a href="http://chaucer.library.emory.edu/carroll/index.html"><img src="../images/stamp.jpg" width="65" height="77" border="0" align="left"></a> 
        Hamilton Carroll's site, <a href="http://chaucer.library.emory.edu/carroll/index.html">Breaking 
        the (Post)code: a hypertext exploration of Freud, Lacan, and Derrida (by 
        way of Edgar Allan Poe)</a> has online versions of Lacan's <a href="http://chaucer.library.emory.edu/carroll/lacan_pages/lacan_frame.html">&quot;Seminar 
        on 'The Purloined Letter'&quot;</a>, <a href="http://chaucer.library.emory.edu/carroll/poe_pages/poe_frame.html">Poe's 
        story</a>, Derrida's <a href="http://chaucer.library.emory.edu/carroll/derrida_pages/derrida_frame.html">&quot;Le 
        Facteur de la V&eacute;rit&eacute;&quot;</a>, and an essay by Carroll, 
        &quot;The Analyst's New Clothes: Lacan, Derrida, and the Pursuit of Truth 
        in Le Facteur de la V&eacute;rit&eacute;&quot;.</p>
      <p>John P. Muller and William J. Richardson have edited a collection called 
        <i>The Purloined Poe: Lacan, Derrida and Psychoanalytic Reading</i> (<a href="http://library.uq.edu.au/search/c?SEARCH=PS2618.P83P87" target="library">PS2618.P83P87</a>). 
        It has the text of the Poe story; Lacan's &quot;Seminar on 'The Purloined 
        Letter'&quot;, followed by discussion much like those on <i>Ecrits</i> 
        in their <i>Lacan and Language</i>. There are selections from Marie Bonaparte's 
        <i>The Life and Works of Edgar Allan Poe</i>; an abbreviated version of 
        Derrida's &quot;The purveyor of truth&quot;; Johnson's &quot;The frame 
        of reference&quot;; and a wide selection of other weighings-in to the 
        debate, including pieces by Irene Harvey, Jane Gallop, Ross Chambers, 
        Norman N. Holland and Fran&ccedil;ois Peraldi. Recommended. </p>
      <p>Shoshana Felman's &quot;Turning the screw of interpretation&quot;, is 
        a classic and spectacular piece on Henry James's <i>The Turn of the Screw</i>, 
        and the criticism to which it has given rise--which, like the seminar 
        on the Purloined Letter, finds itself already uncannily embedded in the 
        text it purports to examine. You'll find it in <i>Yale French Studies</i> 
        55/6 (1977): 94-207 (<a href="http://library.uq.edu.au/search/tYale+French+Studies/tyale+french+studies/1%2C2%2C2%2CB/frameset&amp;FF=tyale+french+studies&amp;1%2C1%2C/indexsort=-" target="_p">DC1.Y3</a>). 
        In her <i>Jacques Lacan and the Adventure of Insight: Psychoanalysis in 
        Contemporary Culture</i> (<a href="http://library.uq.edu.au/search/c?SEARCH=RC506.R45" target="library">RC506.R45</a>), 
        Felman also has a chapter on Lacan's seminar on the Purloined Letter: 
        &quot;The case of Poe: applications/implications of psychoanalysis&quot;. 
      </p>
      <p>Harold Bloom's <i>The Anxiety of Influence: A Theory of Poetry </i>(<a href="http://library.uq.edu.au/search/c?SEARCH=PN1031.B53" target="library">PN1031.B53</a>) 
        is his best-known and most succinct statement of his Oedipal theory of 
        poetry, in which the &quot;strong&quot; poet seeks both to rewrite and 
        break free from the work of the great precursor. Bloom's poets seem to 
        live in worlds without material determinants, titanic figures locked in 
        neverending Oedipal struggles with their fathers. I'd have to admit, it 
        all seems highly claustrophobic to me, and just a little bit <i>Dragonball 
        Z</i> ...<br>
        <img src="../images/Duchamp%20chocolate%20grinder.jpg" width="237" height="284" align="left" alt="Marcel Duchamp, Coffee Grinder, No. 2"><br>
        Ned Lukacher's <i>Primal Scenes: Literature, Philosophy, Psychoanalysis 
        </i>(<a href="http://library.uq.edu.au/search/c?SEARCH=BD241.L85" target="library">BD241.L85</a>) 
        has lots of very interesting material on the difficulties of the classic 
        structuralist and narratological split between story and discourse. </p>
      <p>Barbara Johnson's three main collections of essays are well worth the 
        time, as they document the changing ways in which she has worked with 
        psychoanalysis and deconstruction over several decades of literary criticism. 
        &quot;The Frame of Reference&quot;, which you'll be reading in class, 
        comes from her 1981 book, <i>The Critical Difference: Essays In The Contemporary 
        Rhetoric Of Reading</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN81.J56&amp;SORT=A&amp;submit.x=27&amp;submit.y=11" target="_p">PN81.J56</a>); 
        &quot;Abortion, Apostrophe and Animation: comes from the 1987 collection, 
        <i>A World of Difference</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN85.J5&amp;SORT=A&amp;submit.x=51&amp;submit.y=13" target="_p">PN85.J5</a>); 
        and there is also the 1998 <i>The Feminist Difference: Literature, Psychoanalysis, 
        Race, and Gender</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN98.W64+J64&amp;SORT=A&amp;submit.x=54&amp;submit.y=7" target="_p">PN98.W64 
        J64</a>) </p>
      <p> Leo Bersani has long been one of the most astute and stylish critics 
        working with psychoanalytic ideas in America. His 1986 book, <i>The Freudian 
        Body: Psychoanalysis and Art</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN98.W64+J64&amp;SORT=A&amp;submit.x=54&amp;submit.y=7" target="_p">BF175.B48</a>) 
        argues that masochism is at the heart of both sexual and literary experience. 
        The works he focuses on include James, Beckett and Mallarm&eacute;. </p>
      <p>Jean-Michel Rabat�'s <i>Jacques Lacan: Psychoanalysis and the Subject 
        of Literature</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN56.P92+R32&amp;SORT=A&amp;submit.x=37&amp;submit.y=8" target="_p">PN56.P92 
        R32</a>) is very accessible as an advanced introduction to Lacan through 
        literary texts.</p>
      <p>Ben Stoltzfus's <i>Lacan and Literature: Purloined Pretexts </i>(<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN98.P75S76&amp;SORT=A" target="_p">PN98.P75 
        S76</a>) is a collection of ten essays on various literary figures such 
        as Lawrence, Hemingway, Barthes and Robbe-Grillet. As its title suggests, 
        they often take their cue from the Purloined Letter seminar, and focus 
        on the interimplications of reader and literary text. </p>
      <p>Peter Brooks's <i>Psychoanalysis and Storytelling</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN56.P92B76&amp;SORT=A&amp;submit.x=39&amp;submit.y=9" target="_p">PN56.P92B76</a>) 
        follows through on Freud's speculations on the links between sexuality 
        and narrative form, to suggest the transference relation as a model for 
        what happens when we read. Mary Jacobus's <i>Psychoanalysis and the Scene 
        of Reading</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN511.J13&amp;SORT=A&amp;submit.x=26&amp;submit.y=16" target="_p">PN511.J13</a>) 
        is a similar investigation. </p>
      <p>Gilbert D. Chaitin's <i>Rhetoric and Culture in Lacan</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN98.H57C43&amp;SORT=A&amp;submit.x=40&amp;submit.y=10" target="_p">PN98.H57C43</a>) 
        is a rich source of ideas, though not for the beginner: read it once you're 
        starting to feel at home. </p>
      <p>Rachel Bowlby's <i>Still Crazy After All These Years: Women, Writing, 
        and Psychoanalysis</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PN98.W64B68&amp;SORT=A&amp;submit.x=42&amp;submit.y=11" target="_p">PN98.W64B68</a>) 
        is on a number of major women writers of the twentieth century (including 
        Woolf and Rhys), in a framework which draws on psychoanalysis and deconstruction. 
      </p>
      <p> Jacqueline Rose's <i>States of Fantasy</i> (<a href="http://library.uq.edu.au/search%7ES7/%7E?searchtype=c&amp;searcharg=PR21.R67&amp;SORT=A&amp;submit.x=17&amp;submit.y=15" target="_p">PR21.R67</a>) 
        is about the relations between literature and culture, and the roles of 
        fantasy. The &quot;states of fantasy&quot; of the title are literal as 
        well figurative: the book focuses on Israel and its relations to Palestine, 
        and on post-apartheid South Africa. </p>
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